Gregory1965
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Posts posted by Gregory1965
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Do you know if there are titles listed in their printed catalog that are not listed on the website?
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I love that tag line "I'm back" because, you know, in January 1933 it had been a whopping six months since his last film was released way back in July of '32.
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Well, this isn't black & white but it is from the '50s. I'm pretty sure an incident with a little girl erasing the equations on a chalkboard much to the father's anger occurs in THE GIFT OF LOVE - 1958 - with Lauren Bacall and Robert Stack.
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Kyle - Thanks for sharing the Wings poster. I've really come to enjoy your poster of the day posts, and have even developed a serious case of poster-envy.
I have a couple of questions re: Wings
1) Is this TCM airing in conjunction with a DVD release by any chance?
2) Does anyone know what score will be used for the film? I used to have the commercial release VHS and really liked the theater organ score that was included on that. Somewhere along the line I lost the tape and really miss it. I'm hoping the Feb broadcast will include the organ score I love and fear I might be quite disappointed if it doesn't. I'm hoping to find out in advance to "prepare myself for the worst" if necessary.
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So, having just finished my say about ATONEMENT, I'll now move onto why I originally tapped onto this thread.
I'll begin by saying I really never thought I'd be posting on this thread at all, since I'm not one for crying at movies to begin with. However I just finished watching AWAY FROM HER and I can't ever remember blubbering through a movie the way I just did.
It was so totally poignant, understated and beautifully told yet heart-wrenching at the same time. I cried both at the beauty and the sadness of it - alternately and concurrently - more than once.
I'm already a big fan of Julie Christie and have long regarded DARLING as a particularly favorite performance, but to my mind this subtle but profound performance is truly the highlight of her impressive career.
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Personally, I loved ATONEMENT, but I also read the book so I knew exactly what I was in for.
It sounds to me like you were (perhaps intentionally on the filmmaker's part) mislead by the trailers and previews you saw if you thought you were in for an epic romance. However, don't blame the film's producers for the ending as it's completely faithful to the ending in the book.
And while I personally found it satisfying, I will admit that in the context of a novel it does work better because when reading you're aware that an author is just manipulating language and utilizing a narrator (perhaps unreliable) to create the narrative for you to begin with.
On film that doesn't translate as well because one is more apt (and pretty much expects) to suspend belief to assume that the actions of the characters are indeed what they appear to be.
I left the theater wondering if people unfamiliar with the book would be frustrated by that 'twist' ending and I'm seeing more and more that many are. Just the same, I do appreciate when movies are faithful to their source material and this, in that regard, was one of the best adaptations I've ever seen.
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I love Annette Hanshaw too, and for anyone who hasn't discovered her charming voice yet, here's a link to her only known film appearance:
http://www.jazzage1920s.com/annettehanshaw/annettehanshaw.php
That's all
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Cantor's biggest successes were first, on stage and then later, on radio. Movies were something he only dabbled in comparatively. The fact that live theater and early radio are such temporal mediums and the majority of the folks who enjoyed his talents are now gone has surely contributed to the fact that he's not as well remembered - or appreciated - as he should be. Sad for the rest of us.
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Count me in as being captivated by old "Banjo Eyes". Whoopee! and Roman Scandals are my two favorites of his films, but I also have 78s, CDs and recordings of some of his old radio shows, which I never tire of.
My partner can tell you just how often I (tunelessly) find myself signing "Margie" without being conscious of it, much to his dismay.
"When we have had our fill, do you know who'll pay the bill? Margie, Margie it's you"
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And then once you watch Adam's Rib you're going to want to see Born Yesterday because in addition to the magic of Tracy and Hepburn you're bound to get hooked on Judy Holliday as well. So you'll also watch It Should Happen to You and Phfffft and discover that Jack Lemmon is pretty amazing opposisite Judy Holliday in those so you'll start watching more of his movies too. And on it will go.
It's a happy slippery slope you're sliding on when you start dipping your toes (to mix my metaphors) in the world of classic films.
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I believe Lauren Bacall's assessment of it was: "They met and soon fell into drink or bed or both"
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The suggestion of reading Complicated Women is a good one. For my part, here are some particularly good examples of films from the early '30s with interesting roles/depictions of women that you might want to look into to see which ones would meet your needs.
1930
The Divorcee
Anna Christie
The Blue Angel
Lottery Bride
Madam Satan
Min and Bill
Devil's Holiday
Sarah and Son
1931
Street Scene
Possessed
Cimarron
The Reckless Hour
Night Nurse
Miracle Woman
The Sin of Madelon Claudet
City Lights
Susan Lenox: Her Fall and Rise
Private Lives
Platimum Blonde
An American Tragedy
1932
Grand Hotel
The Sign of the Cross
Three Broadway Girls (AKA: The Greeks Had a Word For Them)
What Price Hollywood?
Three On a Match
Thirteen Women
So Big!
Trouble In Paradise
Love Me Tonight
A Bill of Divorcement
Rain
1933
Morning Glory
Ann Vickers
Queen Christina
Bombshell
Lady for a Day
The White Sister
Mary Stevens, M.D.
She Done Him Wrong
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It sounds to me like TO FIND A MAN (1972) with Pamela Sue Martin and Darren O'Conner
I'm swiping what follows from a user comment on IMDB:
"The two teens, Pamela Sue Martin and Darren O'Conner, are the stars, and they give as realistic a portrayal of two teenagers in a dilemma that many have had to face countless times before them, but they don't know that. Ms. Martin is perfect as the teenage girl who despite her intelligence, never thinks before she acts in matters of love.
As for matters of honor, she knows she using O'Conner because he has a pubescent crush on her, and she's neither milking it for all its worth nor shying away from accepting his misguided but genuine kindness. For O'Conner's part, he really knows Martin's not going to stick with him after he helps her solve his problem, but the dignity with which he handles the entire situation is nothing short of masterful in his own perfectly awkward way. Lloyd Bridges and Phyllis Newman are marvelous as the clueless parents and Tom Ewell is surprisingly effective in a non-humorous role. This one is well worth seeing."
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I'm not sure if this is still a possibility, but several years ago I rented this film on VHS from Eddie Brandt's Saturdary Matinee in North Hollywood, CA.
At the time they used to rent videos buy mail much the way that Netflix works today, but A) I don't know if they do that anymore and
I don't know if they still have that film in their collection. However, I'm throwing it out there in case you wish to contact them to find out. -
A Letter to Three Wives is a VERY good movie. It's has one of the best-written screenplays around - really intelligent, and at the same time biting and witty dialogue. Given the comedies you like (Mr. Blandings/Egg & I), you should also take a look at The Palm Beach Story with Claudette Colbert and Joel McCrea. And then if you like that look for other movies directed by Preston Sturges.
Your overall taste in movies is remarkably similar to my mother's. She was the one who first introduced me to old and classic films when I was about your age, or a little younger. Truly every one of the movies you've mentioned was a particular favorite of hers. There are two dramas she also loved, so given your similar taste I'll toss these out there as recommendations for yout too. The first is A Tree Grows In Brooklyn - it's not available on DVD, but it is around on VHS and FMC does broadcast it somewhat regularly, and I think TCM does on rare occasions. The other is How Green Was My Valley, which is an Oscar winner for Best Picture and a really wonderful and moving film.
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You have great taste in movies. We have many favorites in common. Especially the Jeanne Crain/Claudette Colbert choices.
Now your taste in music on the other hand... ;-)
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In my humble, opinion, the 1939 version of The Wizard of Oz is far superior to the 1910 version. I think it's perhaps my favorite remake. While I love Bebe Daniels in both Dixiana and Reaching for the Moon, her interpretation of Dorothy just can't hold a candle to Judy Garland's - even though Bebe created the role on screen.
I thought the addition of songs and even some dancing might really ruin the story, but I find that it actually enhances the overall feel of the film and takes the story to a new, higher, level.
hmm... I wonder if remakes are such horrible, fearful, and to-be-dreaded things afterall?
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I just saw Atonement and thought it was one of the best adaptations I've ever seen. It truly lifted the book off of the page and onto the screen flawlessly. It's one of my favorite books, and very language-driven with writing that took my breath away, so I was really afraid that it wouldn't translate. I was VERY pleasantly surprised as I'm almost always disappointed (as so many are) by seeing books I love made into films.
Also, for anyone who thinks there are no great movies being made anymore, see Atonement and tell me if you still think that.
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And is it titled "The Wavishing Kay Fwancis"?
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Dangerous was commercially released on VHS and there are currently 15 sellers on Amazon.com who are offering it, both new and used. The new ones are all pretty expensive, but there are several who describe it as "used - like new" and they're very inexpensive - as low as $12.98.
Hope this helps.
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It should have been titled ?The Two Big T***?, because that?s what the whole film was really about.
I like that idea. And using that as a guideline Jayne Mansfield's filmography would look something like this:
The Two Big T***? - 1956
The Two Big T***? II - 1957
The Two Big T***? III in 3-D - 1957
Return of The Two Big T***? - 1958
I Married The Two Big T***? - 1959
Son of The Two Big T***? - 1960
and so on...
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ChipHeartsMovies - I think your post is GREAT and I love hypothetical discussions like this. I have a couple of points that I'll add as my own opinions.
1. I think you under-estimate both Nicole Kidman and Nicolas Cage. Their longevity alone and Kidman's high-profile marriage to Tom Cruise (who, as you stated, is a guaranteed legend) I think will ensure them a lasting legacy.
2. I think you over-estimate Sigouney Weaver and perhaps Mia Farrow. If Mia had worked more I could see her guaranteed a legendary spot, but I think she'll be pigeon-holed as Rosemary's Baby + 'Woody Allen's recurring leading lady' which will make her more of a footnote.
3. I think you left out Hillary Swank who definitely gets the Luise Rainer achievement award in my book. Two worthy Oscars to put her in the history books, but literally everything else she does is destined to be forgotten.
4. In my book it's too soon to make predictions about Keira Knightley, Natalie Portman, Scarlett Johannson and Mark Wahlberg. Their careers are just getting into full-swing and could go in any direction.
5. Reese Witherspoon, Meg Ryan, Michelle Pfeiffer, Annette Bening, Sandra Bullock. They're the real meat & potatoes stars of their generation. I think they'll become the Susan Hayward, Ida Lupino, Ann Sheridan, Paulette Goddard and Jane Wymans of film history for their era.
6. You left out Debra Winger. I'd be curious to know where you place her. For me she's in the 'definite maybe' category with Jessica Lange and Kathleen Turner. You put Sissy Spacek there, but I'd bump her up a notch.
7. For me, Jim Carrey is the Jerry Lewis of today. Take that for what it's worth.
What's also interesting to me about all of this speculation is that television, and cable TV in particular (which can produce higher-end small screen vehicles) can really change how most of today's stars are remembered. In the '30s and '40s you were most likely famous for 10 years, perhaps even very famous, but you ran your course, dragged things out for another 5-10 years, and then went away for good as new stars came along. Jeanne Crain, whom I love, is a prime example of this. Hedy Lararr is another - there are many. Today, you can be famous for 10 years, and then work for 30 years more - still in leading roles - making TV movies. It means less chance of being forgotten altogether, but a diminished reputation since it provides a rather muddy and mediocre filmography in the long run.
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Wow - that's great. Thanks for sharing it.
It's obviously too cutesy to have been a stag movie, right? So does that mean that it received some kind of theatrical release in its day?
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Kenneth - I believe the word you're looking for is "blatant". I'm sure most folks will figure it out from the context of your message, even if there are some who are unable to try to do so.
So, before this all gets too derailed in semantics, is there anyone out there who can provide good examples of films that circumvented or just plain ignored the code? Examples from the early years (1930s) would be particularly interesting to me.
I know of some cases from Richard Barrios' book Screened Out, but all of his examples deal with gay and lesbian issues. I'm sure there are plenty more that weren't covered by this topic, right?
The only one I can think of off the top of my head is Clark Gable's utterance of "damn" in "Frankly my dear, I don't give a..."
I don't know if they still have that film in their collection. However, I'm throwing it out there in case you wish to contact them to find out.
Blondies with oomph
in Your Favorites
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Um, shouldn't Ann Sheridan automatically be at the top of this list?